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B +
Director
Bob Persichetti, Peter Ramsey, Rodney Rothman
throw
Shameik Moore, Jake Johnson, Hailee Steinfeld, Brian Tyree Henry, Mahershala Ali, Liev Schreiber, Nicholas Cage, John Mulaney, Lily Tomlin and Kimiko Glenn
The availability
Theaters everywhere on December 14th
Too many superhero movies are lost in an attempt to run through years or decades of comic legends, bending and compressing time in ungracious ways. The origins are part of an exhibition of feature films, solely to generate sequels where events that change the universe occur in the blink of an eye. Spider-Man: in the Spider-Verse pushes these two qualities to the extreme. The story of the origin of his alter ego Miles-Spidey, fan favorite, Miles Morales (Shameik Moore) quickly accelerates to give way to a phenomenon of dimensional collision where the potential characters of fallout appear at breakneck speed.
It is this portal that allows Parker to go down in history. In another universe, his Spider-Man is alive, even if it is a little less beautiful. As befits a Parker voiced by Jake Johnson, this is a very Nick Miller version of Spider-Man: an unhappy (and mature) backpack with stubble, bags under the eyes and the clear beginnings of a pizza hose. Parker, the replacement, reluctantly agrees to collaborate with Miles to stop Kingpin, especially if he is allowed to return to his own universe once it is finished. Soon, they will be joined by a superpower, Gwen Stacy (Hailee Steinfeld), and several other variants of heroes with powers based on arachnids. Faithful comic book readers may recognize these characters with bland joy, while those who will appreciate the character more occasionally will find them pleasantly bizarre.
Spider-Man: in the Spider-Verse has more than enough plot and characters to match his ugly title. Yet, rather than trying to build his wildest ideas, filmmakers rely on the curves and allow the film to become completely crazy. The animation style merges Ben-Day points, cartoony digital designs, and what seems to be (but probably does not) rotoscopy to create a breathtaking visual schema that is not even grounded in physics. superheroes. It is a brightly colored pop-art caricature that gives the impression of leafing through a particularly kinetic cartoon, and often brilliant in its fusion of aesthetics both old-fashioned and old-fashioned. (Although the film is available in 3D, the 2D version sometimes uses red and blue blurred edges reminiscent of unpolarized 3D to simulate a softer focus.)
The creative team is also hybridized. the director is shared between animation veteran Bob Persichetti, storyboard artist Peter Ramsey and Apatow partner Rodney Rothman, with a script credit attributed to Rothman and Phil Lord, who also produced the film with his creative partner Chris Miller. Lord and Miller & # 39; s Lego movie Sensitivity is ubiquitous in the film, the frantic pace of the film and the crackling dialogues, alongside Brian Michael Bendis, the scriptwriter of the comics ace who created Morales and who produces here. Spider worms often feels like a heavier and more ambitious version of The movie of Lego BatmanBut all is not irreverent, they are zany antics and clumsy voice play (although his use of Nicolas Cage and John Mulaney as variants of Spider means that his hard work is also exceptional). The filming itself is often full of wit, it finds gags in crack editing and perspective changes, like the repositioning of the virtual camera that allows two Spider-Men to stand while crawling on the side of a building. The culmination, perhaps, is perhaps the most sustained stream of psychedelia today.
Emotional notes sound less loud or at least without the perfect clarity of Sam Raimi's best moments Spider Man trilogy. Miles has affective relationships with his police father (Brian Tyree Henry) and his awesome uncle (Mahershala Ali), alternate Peter Parker has a poignant story based on MJ, and the film even sparks some empathy for the ruthless Kingpin . But overall, it's a bit excessive, sometimes obscuring the film's intriguing way of fighting again with his repeated responsibilities in Spider-Man. Miles, an immediately engaging character, does not focus on the precarious juggling of his normal life and superheroes. He is more worried about the question of whether a keen 15-year-old is willing to take on a superheroic burden.
It's a bit what Spider-Man: in the Spider-Verse is about, but in the end it plays more like a celebration of both the continuity of the crazy cartoon and the mutable nature of the superhero's identification. Characters that drift to the infinite of one and the same super superhero power can be quibbled, but when the film brings together a group of these characters with Spidey, the legacy of blacks and Latinos, it clearly shows how familiar superheroes can cool off when new faces take on the mantle. For this reason, this constitutes a clever argument for the animated account of a well-adapted character. It's Spider-Man's seventh feature film in 16 years, but this universe has rarely felt so fresh.
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